The church was once one of several surrounding the central square of the ancient settlement. At the entrance to the church, there is a stone with an inscription stating that the church was built in 1649 through the efforts and endeavors of the residents of Vladimir from the guest hundred of Patrikey, Andrey, and Grigory Denisov's children Rodionov with their nephews, as well as the townspeople Vasily Obrosimov's son Khmylov and Semyon's son Somov "for eternal good." According to archival data, these were craftsmen and small traders who became wealthy and founded merchant dynasties in Vladimir. The Assumption Church allows us to imagine the tastes of the patrons and the craftsmanship of the performers. The church rises on the same line as the white-stone cathedrals of the 12th century. The Mother of God Church stands out with its high proportions and five onion-shaped domes, visible from the Klyazma River and from the Middle City. The church was built with a refectory and a bell tower. Under the iron roof, the original tiers of kokoshniks have been preserved, giving the church a festive appearance. The domes of the church were covered with wooden shingle tiles, which over time acquired a silvery hue. An open arcade of the porch surrounded the church on the northern and western sides, while the most ornate staircase faced north. The dome of the refectory was covered with green tiles. The church was created by a very talented architect, especially his skill was evident in the composition of the bell tower. The ringing tier was designed exquisitely, with elongated narrow windows, elegant arches, and diagonal facets, distinguishing the bell tower's tent, which served as an excellent resonator for the ringing. For a long time, a small monastery existed near the church, which contributed to the appearance of various buildings around the church, creating a picturesque ensemble with silvery and green tops, which ancient Russian masters loved so much. According to an old description, the interior of the church was colorful and festive. The walls of the porch were adorned with floral paintings, fragments of which have been preserved at the northern and western entrances. In the refectory, there were two stoves lined with patterned tiles. The interior of the church was spacious and bright. The iconostasis was framed with ribbons of embossed silver, and the carved Royal Gates were decorated with gilded leaf and finished with silver. The names of the architects and builders of the church are immortalized in the so-called thin candles, burning wax cylinders on white-stone pedestals, adorned with patterns of colored wax. The ornamentation, executed by the ancient master, impresses with its beauty and brightness. At the top of the cylinder, a Slavic inscription praises the wealth of "guest and industrial people." The architecture and decoration of the Mother of God Church prove that the merchant class of provincial cities in the 17th century did not remain aloof from the rise of folk creativity characteristic of the largest cities of that time.